At risk of sounding facetious, I'd thought of using vegetable/olive oil to make a print transluscent for papaer neg work. I've not yet tried it, but it's been in my mind.
Anyone else had a similar thought or experience?
I tried this a couple of times several years ago. It may work for some, but I found it to be quite a hassle handling oily papers whilst trying to keep the rest of my setup free from oils, dust, fingerprints, etc. Then you are left with an essentially uncleanable paper negative that must somehow be stored or discarded. I also tried peeling the emulsion layers off the paper to allow more light to pass through the negative, but that was no picnic either. Since then I have simply learned to work with the longer exposures that paper negatives require. This works fine in the darkroom, where the light source is consistent, but might pose problems for cyanotypes exposed by the sun.
Tom, on Point Pelee, Canada
Ansel Adams had the Zone System... I'm working on the points system. First I points it here, and then I points it there...